Entertainment
The Tragedy That Gave Us Star Trek’s Greatest Guest Star
By Chris Snellgrove
| Published
One of the best episodes of Star Trek: The Next Generation is “The Most Toys,” in which Data gets kidnapped by a collector obsessed with owning the rarest items in the galaxy. That collector is played by Saul Rubinek, who arguably gives one of the best guest performances in the entirety of this beloved franchise. However, it’s a performance rooted in tragedy because Rubinek only got the role because the actor originally performing his part nearly died!
In “The Most Toys,” Rubinek plays Kivas Fajo, an amoral collector who kidnaps Data, making the advanced android his most prized possession. When the episode came out, however, many fans were confused by the appearance of Star Trek’s latest villain. That’s because David Rappaport was originally cast in this role, and Paramount had already distributed promotional photographs of him as a very different-looking Fajo.
The Toys Are Back In Town
Why, though, did Star Trek: The Next Generation have to replace Rappaport in the first place? “The Most Toys” director Timothy Bond is quoted in Captain’s Log: The Unauthorized Complete Trek Voyages that “[T]here was a story going around that they had found him in his car with a tube running from the exhaust.” This created a major liability for the network, and the stress of filming might have contributed to a potential act of self-harm, so the director ended up replacing Rappaport with Saul Rubinek.
Sadly, David Rappaport continued to sink further and further into depression after he was ejected from the role. Only two months later, he was found dead in a Los Angeles park from what was apparently a self-inflicted gunshot wound. It was a tragic end to a troubled life, creating a permanent stain on one of the best episodes of Star Trek: The Next Generation.
Hailing Frequencies Open
Fortunately, Timothy Bond was able to quickly find a replacement for Rappaport, and he was able to refilm all scenes featuring the deceased actor’s character with equal speed. How, though, was he able to recast the important role of Kivas Fajo so quickly? As it turns out, everything started with a phone call from an old friend!
At just the right time, Bond received a phone call from Saul Rubinek, an old schoolmate who was passing through town to film Bonfires of the Vanities, a movie that would later flop. As luck would have it, the actor was a huge fan of Star Trek: The Next Generation, and he asked Bond if he might be able to swing by and visit the sets. Knowing that he had to recast the crucial role of Kivas Fajo, Bond responded with a question of his own: “How much do you want to see these sets?”
A Fanboy’s Dream Come True
The director formally offered the role to Rubinek, and the actor happily accepted the opportunity to become part of the show he loved so much. If he hadn’t been a fanboy, he might have otherwise declined the offer. As Bond (quoted in Captain’s Logs: The Unauthorized Complete Trek Voyages) noted, “He never does guest spots on television, but I persuaded him to do it.”
The recasting worked well for a number of reasons, including the fact that Rubinek is much taller than David Rappaport. This helped him look more physically intimidating onscreen, which is always an important quality for a villain. That quality is so important that Bond came up with a crazy idea back when Rappaport had the part: to shrink all the Kivas Fajo sets down so they had four-foot ceilings, essentially forcing everyone who visited the short actor’s character to bow down before him!
Firing Rappaport meant that the producers didn’t have to do anything so drastic, and Bond remains eternally grateful that they hadn’t already made any changes to the sets. Rubinek went on to do an amazing job as Kivas Fajo, one that effectively straddled the line between menacing and charming. However, what most fans don’t know is that we would not have gotten Rubinket (the greatest guest star in Star Trek: The Next Generation history) if not for the tragic mental illness and eventual death of David Rappaport, a gifted performer who was ultimately unable to overcome his personal demons.
Entertainment
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Entertainment
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Entertainment
Star Trek’s First Broadcast Episode Was Very Carefully Chosen, Because It Was Boring
By Chris Snellgrove
| Published
These days, Star Trek is a bona fide pop culture phenomenon. But during the development of The Original Series, there was anxiety that the general public wouldn’t really understand Gene Roddenberry’s mashing up Western tropes with a sci-fi setting. Making matters worse was that the original pilot, “The Cage,” had been rejected by NBC for being too brainy. Fortunately, Roddenberry got a chance to shoot another pilot, one which impressed the network enough to order an entire season worth of episodes.
Several episodes of Star Trek: The Original Series had already been shot when the time came for this new show to make its broadcast premiere. The first episode that the general public saw was “The Man Trap,” which featured a shapeshifting monster that was revealed to be an alien salt vampire. This good-but-not-great episode was an odd choice, and it was one that the cast and crew hated. As it turns out, though, this episode was very carefully selected by executives because it served as an inoffensive, relatively straightforward encapsulation of everything Star Trek had to offer.
It’s A Trap!
Most of the information we have about why “The Man Trap” was selected as Star Trek’s first episode comes from the book Inside Star Trek: The Real Story. Within this impressive reference tome, Robert H. Justman and Herbert F. Solow revealed something surprising: NBC had several other episodes to choose from for the premiere, including “The Corbomite Maneuver,” “Charlie X,” “Mudd’s Women,” “Where No Man Has Gone Before,” and “The Naked Time.” All of them had already been shot and were mostly finished, so it was just a matter of figuring out which episode would serve as the best introduction to Star Trek, a heretofore unknown sci-fi series.
“The Man Trap” won out, mostly because the powers that be worried that other episodes would be off-putting to general audiences in some very specific ways. For example, they worried that audiences would find “Charlie X” a story that was “too gentle” because it focused on an adolescent with special powers. This was probably the right call, in retrospect: when Variety gave a negative review of “The Man Trap” (an episode chosen, in part, because of its relative maturity), they declared that Star Trek: The Original Series was “better suited to the Saturday morning kidvid bloc” (ouch!).
A Monster Hit Of An Episode
“The Corbomite Maneuver” was a great potential choice, but this episode’s impressive special effects were still in post-production, and almost all of its action took place on the ship. “Where No Man Has Gone Before” really outlined the premise of the new show, but it was deemed “expository” for general audiences expecting more action and danger. Justman thought “The Naked Time” was a killer introduction to the crew’s personalities, but the network passed, presumably because of how over-the-top (half-naked, swashbuckling Sulu? Oh, my!) that episode gets. “Mudd’s Women,” meanwhile, was deemed too offensive because the plot involved literally selling women to miners.
Through this process of elimination, executives decided that “The Man Trap” was the best intro to Star Trek. It had cool scenes on both the Enterprise and a distant outpost (a strange new world) and featured a straightforward action plot you didn’t have to be a sci-fi aficionado to understand. Finally, it was all about finding and defeating a creepy monster, which offered thrills to audiences of all ages. The network’s choice paid off, and Star Trek: The Original Series became the most popular sci-fi show in television history, even though the cast (including William Shatner and Leonard Nimoy) thought “The Man Trap” was the worst possible episode they could have chosen.
All of this is a keen reminder of how much thought and work went into putting Star Trek’s best foot forward. It might be a reminder that Paramount’s current upper leadership needs, as Starfleet Academy hit the ground running with the worst episodes of Season 1. The show got better after that, but it didn’t matter because the prospective audience had already been driven away. As it turns out, today’s execs need to learn something that the network execs of the ‘60s had learned very well: series succeed when you give the audience what they want to see and not what you want to show!
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